Friday, January 29, 2010

Those are the 3 most important things to keep in mind when you are buying a house, opening a business, or writing a piece of yellow journalism for Terrorizer magazine. Here is the interview Terrorizer did with Dwid from INTEGRITY. Note that his answers as well as Sean's, T's and my own are similar when we're asked about Cleveland. I'm posting these interviews to make a point. An article titled "Hello Cleveland" makes no sense at all. Check out Dwid's answers then go download a ton of good music from the link at the bottom. Then go get a brick, write the words "Go fuck yourself" on it, and throw it through the window of the offices of Terrorizer Magazine.

Terrorizer: Can you give us a historical overview of the ‘holy terror’ sub-genre, describing its elements, style, relevant philosophies, the key bands and anything else you feel one needs to know?

Dwid: Holy Terror does not wish to use this interview as a recruitment campaign to gain an even greater following. We will respond to your questions as a courtesy, and if any of your readers that wish to learn more, they would be served best by reading between the lines.

Terrorizer: ‘Holy Terror’ was often associated with internal anger and apocalyptic imagery. Looking back at the 90s, from where do you think these feelings spawned? Was it the same place thrash bands who were singing about alienation and impending nuclear holocaust, but presented in a much more nefarious and prickly manner?

Dwid: Our music is created as an act of religious terrorism. We long for absolute genocide. Our music is not peace punk. We are human racists, we are against the human race.

Terrorizer: How does holy terror’s “apocalyptica” differ from nihilism?

Dwid: We do not feel that life is meaningless, but that we are prisoners in flesh incarcerated in the hellish world. We are striving for a means to eliminate these confines and free all of the souls imprisoned on this dying shell. However, I must confess my adoration for historys greatest nihilist, Francis Bacon.

Terrorizer: Where did the name “Holy Terror” originate? Some say it was your label, others claim it was Brian from Catharsis and his ‘zine Inside Front. I, personally, don’t remember and don’t the term being that widely used as a genre describer. Was it?

Dwid: Holy Terror was a term first used by Inside Front magazine in the early 1990s in an attempt to describe the musical sound and lyrical content for bands like Integrity and Gehenna. Defining, in simpler terms, musical terrorism with an extreme religious manifesto. Jack Abernathy felt that, 'Holy Terror' would be an ideal new moniker to conceal previous incarnation of His movement. His earlier manifestation of the movement had garnered too much negative investigation from the authorities/media. Their witchhunt deemed that a change of name and identity was necessary for the survival of the movement.

Terrorizer: In the same way that New York had NYHC and the Bay Area had its thrash, Cleveland and a fair share of bands from the city became associated with the ‘holy terror’ sound.

Why was Cleveland such a focal point for this style/sound?

Dwid: We have nothing in common with those groups. Holy Terrorists are more akin to the passionate music of Mansons glorious Family and the uncompromising French zealots, Les Legions Noire than to those which you have referenced. A geographical location such as Cleveland offers no significance to HT.

Terrorizer: In descriptions, I’ve seen ‘holy terror’ described as one of the original permutations of metalcore in the sense that it combined metal and hardcore influences and did it in a way that differed from crossover. Agree/disagree?

Dwid: I have no idea about the origins of that genre of music. My interest in metallic punk/hardcore derived from G.I.S.M.

Terrorizer: What are the parallels or connections between ‘holy terror’ and the H8000 sound? Do parallels or connections even exist?

Dwid: HT is not a sound, it is a weapon.

Terrorizer: ‘Holy Terror’ appears to not just be a loose quip designed to describe music, but an entire aesthetic involving a certain lyrical style and artwork, which often made use of original paintings/artwork from the 1700’s and 1800s. Once again, agree/disagree? And was this all-encompassing aesthetic what kept the sound/scene from gaining ground in terms of popularity and also limiting the number of bandwagon bands?

Dwid: I believe you are alluding to H. Bosch. Bosch was able to see beyond the veil that was placed upon our eyes by the demons. His painting illustrate the actual reality of this hellish world. In the same sense of this Flemish master, we also illustrate what we see beneath the veil in order to convey our beliefs. There has never been any interest in popularity. We are creating for our own selfish reasons and rituals.

Terrorizer: This is kind of related to the question above, but…. Why do you feel ‘holy terror’ as a sub-genre never became a household name and/or never took off; not necessarily of popularity, but of more bands openly referring to themselves as such? Was it a matter of terminology; like the term metalcore was a bit easier on the brain, but then ended up taking on a totally different meaning?

Dwid: There is no interest in this.

Terrorizer: Specifically in your last email, you mentioned our “only salvation being the total extermination of the human race.” I’m presuming this also includes yourself, friends and your loved ones? If existence is such hell, why do you yourself go on? Or is it your position to make the general populace’s existence that much more uncomfortable with your time allotted?

Dwid: Yes, the extermination of the entire human race in one loving act. This is the only way for salvation. This flesh is an abomination, a rotting prison cell.

Terrorizer: To what do you attribute the slight resurgence that we’ve seen in the use of the term ‘holy terror’ with respect to re-issued records and the bands playing the style?

Dwid: Recordings are re-issued when the original recordings are no longer available. We will not be held accountable for others choosing to emulate our musical creations.

Terrorizer: Who are some of the more recent bands that have popped up that you feel faithfully capture the spirit and sound of ‘holy terror’?

Mr. Sean Welsh plays in a band called ROT IN HELL from England and (like the rest of us) was made out to be a citizen of Ohio. While he and I disagree on who the greatest football team in Manchester is, we both agree on the STONE ROSES being gods, and the guy who wrote this article being a dipshit. Here are Sean's original answers.

Terrorizer: Can you give us a historical overview of the ‘holy terror’ sub-genre, describing its elements, style, relevant philosophies, the key bands and anything else you feel one needs to know?

Sean Welsh: Filter out the superfluous peripheral distractions and really listen. You are dug in and pinned down in the middle of a mine-strewn battlefield and the enemy has called in an air strike. We, on the other hand, are behind enemy lines preparing the way, weakening bridges and priming our ambush. The sleeper cells are stirring, equipped to wage a guerrilla war against humankind. In other words, we are mere hair’s breadth from realising our objectives. You should confront the lie that you live in.

Terrorizer: ‘Holy Terror’ was always associated with anger and apocalyptic feelings. Looking back at the 90s, from where do you think these feelings spawned? Was it the same place thrash bands who were singing about alienation and impending nuclear holocaust, but presented in a much more nefarious and prickly manner?

Sean Welsh: No, your analogy is misplaced. We inhale the corrupted air of the Tokyo subways, not the adolescent radioactive fantasies of Bay Area beer-bongs. We listen to the wisdom of Sakevi Yokoyama and Pentti Linkola, not the fripperies of Belladonna and Mustaine. We are students and apostles of Armageddon, not of a heavy metal genre.

Terrorizer: Where did the name “Holy Terror” originate? Some say it was Dwid’s label, others claim it was Brian from Catharsis and his ‘zine Inside Front. I, personally, don’t remember the term being that widely used as a genre describer. Was it?

Sean Welsh: Your assertion that Dingledine coined the term holds water, however, when used contemporaneously in association with Holy Terrorism as a description of a particular sound, it is done so in error, ignorance and “without honour or soul”.

Terrorizer: In the same way that New York had NYHC and the Bay Area had its thrash, Cleveland and a fair share of bands from the city became associated with the ‘holy terror’ sound. Why was Cleveland such a focal point for this style/sound?

Sean Welsh: The simple answer would be Integ, a more complicated answer would involve misappropriation of the term, however, there must be other individuals better placed to answer this question since we hail from the north of England not Cleveland, Ohio. In any event, Holy Terror and Clevo have only the most tenuous and historical relationship, if any at all.

Terrorizer: In descriptions, I’ve seen ‘holy terror’ described as one of the original permutations of metalcore in the sense that it combined metal and hardcore influences and did it in a way that differed from crossover. Agree/disagree?

Sean Welsh: Disagree. “Metalcore” is considered a nauseating malapropism by all Holy Terrorists.

Terrorizer: What are the parallels or connections between ‘holy terror’ and the H8000 sound? Do parallels or connections even exist?

Sean Welsh: To reiterate, Holy Terrorism is not concerned with a sound, but rather an action.

Terrorizer: ‘Holy Terror’ appears to not just be a loose quip designed to describe music, but an entire aesthetic involving a certain lyrical style and artwork, which often made use of original paintings/artwork from the 1700’s and 1800s. Once again, agree/disagree?

And was this all-encompassing aesthetic what kept the sound/scene from gaining ground in terms of popularity and also limiting the number of bandwagon bands?

Sean Welsh: We indeed draw strength from expression of individual thinking which may include, but it goes far beyond lyrics or artwork. With specific regard to art, the contemporary work of Stephen Kasner and Give Up for example, are fundamental facets of Holy Terrorism.

Popularity is not our concern or objective and has no place in Holy Terrorism. That the overwhelming majority have neither the vision, nor disposition to comprehend or appreciate Holy Terrorism is a validation in itself. You may consider us marginalised, outgunned and outnumbered, but remember, we are not in here with you; you are all in here with us. In other words, we are the Ouroboros in your midst.

Terrorizer: This is kind of related to the question above, but…. Why do you feel ‘holy terror’ as a sub-genre never became a household name and/or never took off; not necessarily of popularity, but of more bands openly referring to themselves as such? Was it a matter of terminology; like the term metalcore was a bit easier on the brain, but then ended up taking on a totally different meaning?

Sean Welsh: Please refer to the previous answer.

Terrorizer: What was up with Gehenna?

Sean Welsh: In what respect? I’m sure Mike Cheese would be happy to answer your questions with regards the Infamous Gehenna.

Terrorizer: To what do you attribute the slight resurgence that we’ve seen in the use of the term ‘holy terror’ with respect to re-issued records and the bands playing the style?

Sean Welsh: Some individuals have referred to a ‘Rebirth of Holy Terror’ since soon after the turn of the century, however, it never in fact went away. In recent years Mr Abernathy has reached out and amassed a worldwide network of comrades and cohorts who are poised and committed to the cause. It's always there, the beginning and the end.

As the wolves, or rather pigs closed in they appeared to consider us encircled and embattled. Distracted and aroused as they were, some of our number simply vanished from under their snouts and reappeared elsewhere and everywhere. Undoubtedly they scratched the surface, but what of it? It only added to their misperception, little did they know, little do they know, little will they ever know other than what we choose to feed them, drip, drip, drip.

Terrorizer: Who are some of the more recent bands that have popped up that you feel faithfully capture the spirit and sound of ‘holy terror’?

Sean Welsh: Integ, Gehenna and Pale Creation continue to rend the world asunder. In their wake Vegas, Roses Never Fade, Horders, and Withdrawal will change your life and understanding of it upon its head if only you so desire.

Go here and download some gunpowder (including ROT IN HELL) http://www.holyterror.com/downloads/ then on Sunday listen to it while Sean an I trade insults about soccer via the internet.

The mastermind behind the band VVEGAS (know as T) also had a chance to get misrepresented by Terrorizer Magazine. Here are his original uncut statements.

Terrorizer: Can you give us a historical overview of the ‘holy terror’ sub-genre, describing its elements, style, relevant philosophies, the key bands and anything else you feel one needs to know?

VVEGAS: The ideas have always been there in various incarnations, shapes and forms. There is no "style" per se. We don't desire to prove anything. Ethical sympathies are an unpardonable mannerism. Opposition means being in accord with oneself. The main tenet is individualism - at any cost.

Terrorizer: ‘HT’ was often associated with internal anger and apocalyptic imagery. Looking back at the 90s, from where do you think these feelings spawned? Was it the same place thrash bands who were singing about alienation and impending nuclear holocaust, but presented in a much more nefarious and prickly manner?

VVEGAS: The difference is that we are embracing developments such as the implications of the era when the iron curtain spawned lyrical content.

Terrorizer: How does holy terror’s “apocalyptica” differ from nihilism?

VVEGAS: Nihilism is about of the rejection of all principles. We believe in love. It's our only weapon. Our lie is an ally of truth. The slate needs to be wiped clean once and for all.

Terrorizer: Where did the name “HT” originate? Some say it was Dwid’s label, others claim it was Brian from Catharsis and his ‘zine Inside Front. I, personally, don’t remember and don’t the term being that widely used as a genre describer. Was it?

VVEGAS: I think that is was first used by Brian Dingledine in 1993 in a "journalistic" attempt to describe the musical sound and lyrical content for bands combining musical terrorism with religious imagery. I am not sure if VEGAS could be categorized according to that cookie-cutter formula. What I know is that Jack Abernathy fell in love with the label. With Dwid having always been interested in Abernathy's creations them teaming up was a logical step. Stemming from a completely different and more sinister background, it became Jack's pet peeve and he made it a branch of his movement, placing Dwid at the helm. It was strange seeing Jack reverberating through him. It was Jack's idea to use the name to distract attention from the other things he had going on at the time. While he did not openly discuss it, I guess it was a necessary move to branch out into other spheres as an earlier incarnation of his movement created too much heat and needed to lay low. A few years after, he took a leap back into mainstream culture but I am not at liberty to discuss further details.

Terrorizer: In the same way that New York had NYHC and the Bay Area had its thrash, Cleveland and a fair share of bands from the city became associated with the ‘holy terror’ sound. Why was Cleveland such a focal point for this style/sound?

VVEGAS: The magnetic pull of Lake Eerie and the bad water.

Terrorizer: In descriptions, I’ve seen ‘HT’ described as one of the original permutations of metalcore in the sense that it combined metal and hardcore influences and did it in a way that differed from crossover. Agree/disagree?

VVEGAS: It's been described in many ways yet we are not concerned with labels and descriptions. Its manifestion via aggressive music, as with Vegas, is just one incarnation consisting in the perfect use of an imperfect medium. There are no limitations, neither musically nor philosophically.

Terrorizer: What are the parallels or connections between ‘holy terror’ and the H8000 sound? Do parallels or connections even exist?

VVEGAS: It's funny that you mention "H8000" as we've had a meeting with Abernathy a couple of years ago in exactly the area that the Belgian "8000" zipcode refers to. He rented a windowless apartment for the occasion, that we aptly named "the bunker", and it served its purpose well.

Terrorizer: ‘HT’ appears to not just be a loose quip designed to describe music, but an entire aesthetic involving a certain lyrical style and artwork, which often made use of original paintings/artwork from the 1700’s and 1800s. Once again, agree/disagree? And was this all-encompassing aesthetic what kept the sound/scene from gaining ground in terms of popularity and also limiting the number of bandwagon bands?

VVEGAS: Aestheticism and the transport of purposes is an oxymoron. It is as it is. Gaining popularity was never an agenda.

Terrorizer: This is kind of related to the question above, but…. Why do you feel ‘HT’ as a sub-genre never became a household name and/or never took off; not necessarily of popularity, but of more bands openly referring to themselves as such? Was it a matter of terminology; like the term metalcore was a bit easier on the brain, but then ended up taking on a totally different meaning?

VVEGAS: The labels people attach to it might change yet the ideas are eternal, no matter how low you tune your guitar.

Terrorizer: To what do you attribute the slight resurgence that we’ve seen in the use of the term ‘HT’ with respect to re-issued records and the bands playing the style?

VVEGAS: As stated before, the main ideas are what could be referred to as atavistic instincts. It felt natural to incorporate them into our alchemy. Rather than a renaissance it's more like new people are being exposed to them now.

Terrorizer: Who are some of the more recent bands that have popped up that you feel faithfully capture the spirit and sound of ‘HT’?

VVEGAS: I rarely listen to music these days. Our friends play in bands like Integrity, Gehenna, Roses Never Fade, AVM, Rot in Hell, Blind To Faith, Shoot To Kill, Pale Creation etc.

Thursday, January 28, 2010

This guy from Terrorizer Magazine wanted to interview some friends and I "to find out what Holy Terror is really all about", and find about "where GEHENNA and other HOLY TERROR bands fit in the metalcore" scene. In reality he wanted to tell the world what he believes Holy Terror is and add some quotes in to the article to give it some credibility. For some reason he thinks the "secret ingredient" to harsh music is the city of Cleveland Ohio. I mean, fuck man, I like the DEAD BOYS, and the PAGANS, but will they ever really matter to me as much as the STOOGES? Answer to that is "NO". Anyhow I'm re-printing the Q and A session he and I had because the article he wrote suggests something different.

Anyhow... enjoy the real interview and feel free to stop by the news stand and strike a match to the one that is in print.

Terrorizer: Can you give us a historical overview of the ‘holy terror’ sub-genre, describing its elements, style, relevant philosophies, the key bands and anything else you feel one needs to know?

Mike Apocalypse: I’ve went over this a thousand times with a million people, and I think we know what it is... Brian Dingledine was a writer who used this adjective, and noun to describe the feelings he had when he heard this music that happened to be made by some outsiders. Another guy came to town and used it to cloak what was going on in the world so we could do what we do when we do it. In other words it’s the world that people don’t love anymore and we’re just the guys that needed to sing these songs. You know, we’re just the air and water and trees and animals and we’ve been here for a long time. So when we talk to each other we’re just saying the beliefs that are as old as the hills... No one wants humans around anymore.

Terrorizer: ‘HT’ was often associated with internal anger and apocalyptic imagery. Looking back at the 90s, from where do you think these feelings spawned? Was it the same place thrash bands who were singing about alienation and impending nuclear holocaust, but presented in a much more nefarious and prickly manner?

Mike Apocalypse: Are we angry inside? Are we painting pictures of armageddon? Did this start in the 90’s? No man. You got it wrong. We’ve been here doing this thing for a long time. We sang songs as a baby in a church in Northern California, and we’ve wrote sonnets from the gutters of New York City before we could spell. We were riding on the train in Japan in 1995, and we were down in the jungle in 1978. We were out in Death Valley on those burning hot plains, and we were flying in to New York on those burning hot planes. Ya dig? We’ve been on trips through this country and the whole damn world with our brothers and sisters since before your imagination could begin. We’re part of a pack thats run through here. And people seen us and got the idea to ask us a question. We aint worried about an impending holocaust baby, we are the impending holocaust.

Terrorizer: How does holy terror’s “apocalyptica” differ from nihilism?

Mike Apocalypse: Can you tell me how words are going to make a difference? They aren’t. Thoughts and actions make the difference. A revolutionary act is something a nihilist wouldn’t be part of. He wouldn’t stretch himself out to feed you with knowledge would he? No cause baby, he hates the world. We love the world, it’s the people we aren’t to fond of around here. We want to encourage people to show how much they care and lay down their lives for one another. To give up. To not focus on how they are going to save time, but how they are going to spend their time. My friend Jack told me to “take hold of forever before it takes hold of you.” Thats how we’re gonna do it. With action. With knowledge. With song. With love in our hearts. We aren’t gonna just get mad, and tell you to get mad. We’re gonna get right, and tell you how to get free.

Terrorizer: Where did the name “HT” originate? Some say it was Dwid’s label, others claim it was Brian from Catharsis and his ‘zine Inside Front. I, personally, don’t remember and don’t the term being that widely used as a genre describer. Was it?

Mike Apocalypse: I told you earlier about a Brian Dingledine and his magical magazine that printed a word which ended up as a cloak. Dwid wasn’t using the term to describe music when he started his label. He was setting up a printing press and record label to tell some truth, and sell some truth.

Terrorizer: In the same way that New York had NYHC and the Bay Area had its thrash, Cleveland and a fair share of bands from the city became associated with the ‘holy terror’ sound. Why was Cleveland such a focal point for this style/sound?

Mike Apocalypse: I think you maybe mistaken. Cleveland was only INTEGRITY’S base of operations, for a time (a long time). When things got hot and the government tried to hit everybody with an injunction Dwid flew the coup. GEHENNA formed splinter cells like SANGRAAL, WITCH-LORD, DISCREET DOLL BAND, and DEVIL. I assure you though there is no sound to Cleveland. BONE THUGS, Boz Skaggs, and Gerald Levert are all from Cleveland. They never affected how GEHENNA sounds. As far as style... I was born in Detroit man. I was born in the Mecca of style and sound. STOOGES, MC5, NEGATIVE APPROACH, Joe Louis, Bruce Campbell... Need I say more.

Terrorizer: In descriptions, I’ve seen ‘HT’ described as one of the original permutations of metalcore in the sense that it combined metal and hardcore influences and did it in a way that differed from crossover. Agree/disagree?

Mike Apocalypse: No. I would not agree or disagree. I would ignore that statement. That is a statement that was more than likely made by some guy who was trying to demean the movement into a type of music. If it were said that we’ve drawn on influences from bands that played a certain genre of music in order to create our art and spread our word of total human annihilation, I might say “mmm. Yeah man. Your picking up what we’re laying down.”

Terrorizer: What are the parallels or connections between ‘holy terror’ and the H8000 sound? Do parallels or connections even exist?

Mike Apocalypse: We have no sound. We only bare a message “The Gift Of Extermination.”

Terrorizer: ‘HT’ appears to not just be a loose quip designed to describe music, but an entire aesthetic involving a certain lyrical style and artwork, which often made use of original paintings/artwork from the 1700’s and 1800s. Once again, agree/disagree? And was this all-encompassing aesthetic what kept the sound/scene from gaining ground in terms of popularity and also limiting the number of bandwagon bands?

Mike Apocalypse: You’re getting warmer. What happened is that we all want to tell people that the world would be a better place without them in it. Humans need to be destroyed. This seems to be a turn off to a lot of humans. Truth like that is hard to swallow, and we don’t need anymore friends. That’s not why we do this. We don’t want a scene. We just want it to all end. We aren’t pushers man. We’re users. We use life and abuse life, and want to burn it all up. If somebody says I’m a hedonist then that’s fine. I don’t care man, cause all I know is that I’m not trying to be anyones anything. I’m doing what I need to get what I want, and if that breaks hearts what can I do?

Terrorizer: This is kind of related to the question above, but…. Why do you feel ‘HT’ as a sub-genre never became a household name and/or never took off; not necessarily of popularity, but of more bands openly referring to themselves as such? Was it a matter of terminology; like the term metalcore was a bit easier on the brain, but then ended up taking on a totally different meaning?

Mike Apocalypse: It isn’t a sub-genre. GEHENNA isn’t trying to sell you on a fashion or a “sound.” That is why a lot of people never liked us. We don’t have anything for them. We won’t do what they want or act how they want. GEHENNA is GEHENNA. We turned the television off and handed you a knife and said “use that right or I’m gonna take it from you.” We taught you how to write and gave you a pencil and said “send this letter to the world or I’m gonna erase your words.” You cant do that in every house cause even if you own all the houses you can’t shut all of the televisions off.

Terrorizer: To what do you attribute the slight resurgence that we’ve seen in the use of the term ‘HT’ with respect to re-issued records and the bands playing the style?

Mike Apocalypse: We formed splinter cells. We painted new pictures that had the same subject from a different angle. This led to people asking why we’re still here and why we still aren’t friends with them. The things we love caused jealousy and confusion. People asked “how could I be part of this?” and I could only answer them with “I don’t know what your talking about.” The style or sound you are insinuating exists simply does not exist. The word and message of the band I’m in does. As far as a resurgence... It’s been a little while since we seen something big. But it’s gonna come around, and man will learn to love again, and lay down his life, and forget about selling his style, and start telling the truth.

Terrorizer: Who are some of the more recent bands that have popped up that you feel faithfully capture the spirit and sound of ‘HT’?

Mike Apocalypse: There is no sound. The idea of sound was abandoned a long time ago. There is only a message. Release yourself from the prison of life. Take hold of forever.

Wednesday, January 20, 2010

Some dick brought a copy of the STOOGES record to Australia in 1970. I think I owe that dick a lot cause it seems like after that Australia's punk movement became the most amazing thing in the world. Bands like RADIO BIRDMAN, The SAINTS, LEFTOVERS, SUICIDE SQUAD, CHOSEN FEW, VICTIMS, RAZAR, FUN THINGS, NEWS and tons more were the results.Australian bands took the STOOGES and MC5 (who already had the cool swagger of Motown ingrained in them) and combined it with the nasty dirty sounds of island isolation and pub anthems.X is one of the best to do this. They seem to combine the sound of roaring drunken ALICE COOPER like vocals, with an dangerous overblown punk rock elements of the STOOGES, and the snotty attitude and rhythms of the CLASH.

Needless to say these bands and their style had a huge influence on me and the type music of attitude I have from 8,000 miles away. Maybe it's cause we all like the STOOGES. Anyway, Check out their "Aspirations" album out from the link below and get ready to go nuts with me in Texas this May.

Tuesday, January 19, 2010

Ummmm. Where do I start? I don't even fucking know. This is gonna be an amazing weekend. Over the next few weeks I'm gonna post some stuff by some of the bands that are playing and try to post updates with any info about tickets, shows line ups, etc.On the real... This is gonna kill.I still can't even wrap my head around this.

Friday, January 15, 2010

Imagine music that blended all of the aggression and spite of KREATOR, with the total over the top rage of early SLAYER, and accent it with the melodies of IRON MAIDEN, and the unpredictable changes of DISCORDANCE AXIS. That is what your going to get when you hear "Swelling The Morgue" the six song demo from Reno's VIOLENT RULER. These fucking dudes destroy live too. I've never been able to figure out how to do shit like this, but I assume it takes a shit ton of practice. This band is sure to destroy for years to come. So check this metal masterpiece out.